The transvanguardian artists are characterized by a subjective eclecticism, in which the artists return to a classic pictorial language. They resort to mythological themes or classical as the Cyclops and Minotaur heroic themes with great expressive colors. Another feature is the “nomadism,” the artist is free to move in any age or style of the past, freely taking all references of other authors. Figurative works generally performed with iconographic references, with a taste for the fragmentary (fragments of works from the past).

The Neo-Expressionism is characterized by its aggressiveness, his emaciated subjects, the way these are treated and the use of easily recognizable images like the human body, usually drawn so very crude.

In contrast to the abstract movement Informalist developed in the late 1940s, neo-realist artists promoted a conception of art as a means of social analysis and reporting, as well as an instrument of intervention in politics. The language itself for this purpose should be immediately understandable, and direct anti-intellectual, since the contents must clearly relate to reality. The neo-realist painters clear issues faced today, as the struggles of farmers and working conditions in factories, and discussed the recent history with works devoted to the reasons and ways of resistance

Recovery in the mid-eighties, of the poetic concept of the sixties and seventies, but by moving the shaft, “from concept to concept-idea-goods”. Prior art is mentally organized and absent gesture. You preconceived design. And therein lies the key to neoconceptualismo coincidence, since the concept of rationality is a product from an organized mental process, therefore, in the conceptual work is given obligatorily a prior process of design.

One use of the characteristics of pop art to social and political criticism, with a great background ironic. SXX late and early twenty-first, with the popularization of digital art software, pop art makes hard subjects adapted to present themselves with icons of urban issues, graffiti, or iconography of the 60’s to 80’s.

The canvas gets released from its frame in question the Euclidean plan receptacle screen image. Chunky, wrapped, floating, thus extending the space around it. She reveals and vice versa. The procedure allows the color dye passes through the support and may give as much importance to the back straight.
Claude Viallat http://www.claudeviallat.com/pages/images1.html

United States. Against the ‘politically correct’ of Minimalism and Conceptualism, and against the idea of a death foretold of painting. Figurative painting, cheerfully baroque. Subject generous overabundance of color, red dissonances. Without respect for the classic rules, decentered compositions …
Neil Jenney http://www.josephklevenefineartltd.com/NewSite/NeilJenney.htm

Japan. It means ‘school object’. Natural objects: trees, rocks and dirt. Craft items such as joists, beams, concrete, paper and glass. The importance is given to the relationship between subject and object or between objects and spaces they occupy.

Group of artists in the 1980s, Germany and Austria, have developed a paint violent, irresponsible and life affirming. Which was named in reference to French Fauves in Paris at the beginning of the twentieth century had developed a visually exciting picture.

In the works on canvas, accompanied by numerous drawings and often presented with poems written by the same artist, appropriate to look visionary myth, art history and literature, giving life to compositions of great symbolic intensity in which the world is often depicted as a battlefield between two opposing principles

United States and Europe. Recurring to the isolated image, still or motion is presented out of context and that is reduced to its unique quality of abstract sign. Appropriation of the object that is re-drawn, re-painted or re-photographed.